Hi Rob,
I used to work with Adobe LR also when did much more digital work then analog. One thing that I consider better with LR then with Gimp is meta-data categorization and collections. But with film, using a scanner to digitalize some film to upload to the web it simply doesn't make sense any more. Al the data related to the shooting instance - f-number, lens, speed film, ISO, etc, etc have to be filled manually, so, what's the gain of metadata capabilities with LR? I prefer to have files with paper with this data writen by hand, close to the negative sleeves as a dataset.
But if I have a work in studio or outdoors I mainly shot with the digital gear - as I usually do when working with colour - why not?
Well, but what's the point with Gimp, why not Photoshop or similar?
First, because it works with Linux flawlessly, and I use Linux instead Windows for the price - it's free - because the stupid amount of virus in many previous CPU's I had infected and the annoyance to have to update anti-virus all the time, or letting it run in parallel consuming processing power, etc. I find that Linux runs smoother also then Windows, and has less processor consuming rate.
Another issue with LR is the Cloud initiative by Adobe, I don't know if it works well when I have to go disconnected from the web, probably yes, dunno, but living in a small city with internet connection via wi-fi, with many blackouts - sometimes by days, as in the last month due to a heavy thunderstorm, it can be an issue.
I can also run Gimp installed in a USB stick, in any computer available if needed.
You can give it a try - please visit the link of Pat Davis in the video - explore the possibilities of GMIC - a set of filters and tools with nothing close to it in PS, work with 16 bits in the beta version of Gimp or 32 bits if your CPU have enough power, and explore... See if the FX-Foundry and GEGL filters have something interesting to your work. In general, the work with Gimp have to do with sharpening without artifacts in a very controlled way, suppression of digital noise without erasing details in the low portion of the tonal curve, basic dodge-burning, and digital masks with channels - this allows me to work in different areas of the image, lights and darks, applying sharpening or noise reduction in a very controlled way. With conversion using film emulation you can add grain, choose a film-look for your shot between maybe one hundred of different film types - both colour or B&W including instant film or toning. There is a lot to explore,
Have fun,
Renato
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